Courtroom Chaos: The Trial of the Century
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Theatre Review by Christina Manolescu</MARQUEE>
1895: A hint of gracious drapery, a whiff of decadent Victoriana, the haunting music of another era, a heap of vintage volumes casually arranged against the stark theatre backdrop sets the scene and creates the ‘ambiance’ for the most celebrated ‘Trial of the Century.’
The dramatic action to come is focused centre-stage, whereas the audience enjoys privileged seating on all three sides, creating almost a ‘theatre in the round.’
As icon and symbol, the mountain of published books—the one constant feature of the décor—represents the cultural legacy of one of the UK’s greatest authors, his sole legacy that was destined to endure.
Ironically, tragically, Wilde’s personal fortune (along with his literary and moral reputation) was devastated in the wake of the infamous litigation set in motion against him. His treasured collection of books and manuscripts was lost forever, auctioned off to scavengers and opportunists. The firestorm of public condemnation following his conviction and imprisonment denuded the celebrated author of everything he’d ever owned, cherished, created or produced.
A large, spirited team of actors, many of whom portray multiple roles, grasp this historic re ‘creation’ and run with it. The sole actress in the cast, Jean Nicolai, is energetic, emphatic and imposing in her successive cameo portrayals of Judge and Landlady, Housekeeper, Monarch and Whore.
In the hands of Zach Fraser, the directorial choreography races forward like clockwork, both dramatic and theatrical. The riveting play-script is forged from Wilde’s own writings (chiefly, his ‘counter-culture’ philosophy of life as art, and art the sole value that transcends life) along with selected letters, documents, news reports and archival transcripts of the Trial.
Despite its 19th century elegance and density of language, the dialogue rockets around the courtroom-stage like precision arsenal. The actors rarely miss a beat, when delivering their tremendous payload of rapid-fire charges and counter-charges, threats, accusations, denials, insinuation and innuendo.
By contrast, Don Anderson, having a long-time professional familiarity with the works of Wilde, interprets the leading role with delicacy and naturalism. His dramatic ‘presence’, vulnerability and refined demeanour appear to set him head and shoulders above the rest of mankind, intellectually, artistically, humanely.
B.J. Erdmann portrays Lord Alfred Douglas, a youth who becomes bedazzled and smitten by the charismatic Wilde. Their less-than-clandestine love affair proves intolerable to Alfred’s outraged father, the Marquess of Queensbury (played with villainous relish by David Potter). As a public act of rebellion, this forbidden love will spark a devastating revenge against them both.
Wilde’s dour, judgmental accuser (portrayed with wonderful dark humour by Mike Hughes) cites criminal ‘unnatural practices,’ leading to the corruption of innocent youth. Although armed with incontrovertible ‘evidence,’ he fails to intimidate the celebrated poet who counters each accusation with facile witticisms and self-deprecating mockery. However, as time elapses, dramatic forces escalate and pressure mounts. Wilde’s former allies fall away, his amiable patience drains to inertia, his testimony in the dock reverts from honest to dissembling, from philosophical to satirical, from rational to contentious, from guarded to glib.
A persistent confidence in his own ‘innocence’ coupled with an irrational obstinacy to let the world ‘do its worst’ seem to drive him, in the end, to his own martyrdom. In the face of his aggressors, he is ‘Gulliver’ ensnared by small-minded Lilliputians, a blood-sacrifice delivered up to the baying hounds.
Yet, true to its sources—archived legal records of the time—it is significant that the text of this play remains steadfastly objective rather than interpretive throughout. No attempt is made to analyse, besmirch or whitewash any character or event. No politically correct nor revisionist 20th century world-view, no predominant moral stance is highlighted, no defining judgements rendered on either side of the ‘divide.’ The audience itself is invited to witness and ponder the ‘moral issues,’ the residual lessons and values, the enduring rights and wrongs of this celebrated and tragic affair.
Review by Christina Manolescu, Invisible Cities Network
London, 1895. Oscar Wilde, famed poet and playwright, lands in the courtroom both as accuser and accused. As his writings and personal life are scrutinized by the law, the press and the public, the lines between guilt and innocence in life and art are blurred. Based on actual court transcripts, this Montreal premiere of Gross Indecency gives us ringside seats to the dramatic trials of one of the most dynamic and popular playwrights of the English language. On the tail of Montreal’s first-ever Outgames and Human Rights Conference, the relevance of this important play is underlined.
“Biographical storytelling often creates legends out of ordinary men and women. On first reading Gross Indecency, I was impressed to discover that this play does the reverse, exposing an extraordinary man to reveal his humanity. Oscar Wilde was a beautiful personality. He dared to dream, express and live in his own manner. His philosophy, wit and art were food for the soul of an entire society. Mighty as he was though, Wilde was still forced to justify his private life and love before the world. Gross Indecency examines a remarkable man’s defiance and pride against a scorning public. I am eager to create, with our very talented team, an evening of exhilarating, fast-paced, socially charged, courtroom drama. I look forward to igniting the theatricality of this provocative play and inspiring dialogue among our audiences.”– Director Zach Fraser
A native of Nova Scotia, director Zach Fraser is a graduate of the Acting Program at Dalhousie University and the École International de Théâtre Philippe Gaulier in London and Paris. Zach has taught and performed throughout Nova Scotia and Europe as well as throughout North America as a puppeteer with the acclaimed Mermaid Theatre of Nova Scotia. He has co-founded two creation-based theatre companies: Bunnies in the Headlights Theatre in Halifax, and La Compagnie ZaClaMa! in Paris.
The all-star cast includes James Allport, Don Anderson, BJ Erdmann, Mike Hughes, Chris Masson, Neil Napier, Jean Nicolai, David Potter and Ken Proulx. Lighting by Peter Vatsis; costumes by Tristan Capacchione; sound by Azra King-Abadi.
About the Festival
The New Classical Theatre Festival is a dynamic factor in the renaissance of Montreal theatre. It is where ideas and ambition grow and flourish into fully developed live performances. Fresh, new voices are presented in venues in the heart of downtown Montreal. For four weeks, the most innovative minds of Montreal’s vibrant, independent theatre scene get a welcomed chance to explore style, language, theatrics, convention and form. Like all innovation, the artists involved draw inspiration from the classics, whether it is with text, structure, content or simply good storytelling. What emerges is groundbreaking work challenging our audiences and pushing the parameters of our imaginations into the unknown. These companies of actors, designers and directors are forging a dramatic approach to theatre that “makes the mind sing and the soul glow for the future of theatre – not just in English, not just in Montreal, but everywhere.” (Gaetan L. Charlebois, The Gazette)
Gravy Bath Productions is an independent theatre company dedicated to the creation of original works, re-interpretation of important classical texts and the exploration of new theatrical styles. The company is constantly evolving and exploring, searching for new ways to tap into the Theatre of the Imagination.
Founded by Bill Glassco, the Montreal Young Company’s aim is to fortify young artists’ belief in their calling, dedication to their craft, sense of professional integrity and standards of excellence.
With James Allport, Don Anderson, BJ Erdmann, Mike Hughes, Chris Masson, Neil Napier, Jean Nicolai, David Potter and Ken Proulx. Lighting by Peter Vatsis; costumes by Tristan Capacchione; sound by Azra King-Abadi.
http://www.gravybath.com